CRITICAL REVIEW


        Mihai Ungureanu studied sculpture in Bucharest (he was a graduate of the master degree studies in 2007), his professional training allowing him to swing between monumental structures in stone and smaller works in wood, porcelain, fiberglass or even ready-mades.
          Having three personal exhibitions in his portfolio, Ungureanu proves his artistic maturity and substantial research efforts on fine arts. One of the outlined directions is the one of the anthropomorphic figures, threadlike and delicate (Quintet), a possible meditation on the theme of human frailty. Another of his concerns, visible mostly in the In Vitro collection in 2013, concentrates upon some imagological elements referring to classical culture, but which are interpreted with the most acute sense of contemporaneity. With a relaxed attitude and a lot of humour, Ungureanu associates Icarus with Superman, thus the process of demythologising works both ways. The same kind of irony is present in the case of the small putti’s diverse occurrences: with their cheeks and palms stuck to a non-existent window or with a half-severed head by the water surface from which the missing part cannot be transpired. Well organized, the concept proposed by the artist through his entire series follows the stances in which the prismatic glass body relates to the contents suggested by the artist, with the manner in which he constrains or liberates them, he makes them visible or he blurs them out.


Maria Orosan-Telea (2014)
                                                                                     


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